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of course, is cutting lighter, but cutting down at a steeper angle can also help. The cuts should be 'X6 in. apart. In the beginning you may want to use a ruler or a divider to mark the spaces, but you should learn to space evenly by placing the tool so that the previous cut is centered in the space berween the one before it and the one you are about to make. You are looking one space behind as you cut. Remember, you are not a machine, and a little unevenness is desirable. The next cut is the mirror image, only deeper. Starting at the right-hand end, hold the tool in your right hand and the mallet in your left, and go back the other way. This time go the way down, until the corners of the gouge reach the bottom of the beading. If your first cut was deep enough, there should be no splitting out. As you place the chisel, all This is a very popular carving that occurs in many different widths besides the 1 %-in. shown in figure 1 and in the photos. Start by marking off 3-in. divisions with the compass. If you want, you can also mark off the centers of these too. Photo A shows the carving after a series of cuts made by pun g down with the mallet. These are numbered in the order they were made, but mirror-image cuts aren't numbered separately. You can vary the order of these CUts somewhat, but it's important to maintain the overall proportions. You will need most of the tools listed on p. 47. For a wider molding, select wider tools and wider divisions. down on each of the 3-in. divisions with the flat very top of the molding. Now take the %-in. #8. With the top edge of the tool in the first CUt, chop straight down chis鹷 almost perpendicular to the face of the molding, fairly deeply, especially along the lower portion. Cut length of the molding, then turn the gouge around and cut the mirror images. The next cut %-in. #8, begins at the bottom end of the previous cut. Be sure to hold the gouge so that a line drawn through its corners would be at 900 to the molding length. Make the mirror-image cut in the opposite direction, keeping the shape symmetrical. The next cut (3), all (5) 48 ing the rounded # 1 chisel, make a cut halfway berween the original 3-in. 4 divisions. The cut should be right on the hollow of the molding and a little deeper at the top. Using the same tool or a straight-ground flat, continue the cut over the top of the molding (6), chopping fairly deeply. The first six cuts, and their mirror images, chop out the basic proportions along the full length of the molding. A. similar. When you are more familiar with the carving, you can make cuts and (4) as part of the same run. Then us3 is (2), these along the still with the The first CUt (1) is chopped sttaight l (or the rounded one) at the Carving a Spanish molding chin Each unit (between arrows) results from the cuts described in the following series. watch the bead you are forming. There should be a neat little ellipse, nearly round. There should also be no space berween the beads. The third cut finishes the first, and the outside edge of this CUt should touch CUt number rwo. The final cut is with a skew, used as a knife to slice out the chips. When you start out, it's a good idea to make eight or ten first CUts, then finish off a few of them. If they are continue to the end. If not, practice a few more. A variation, generally used with other carvings such as ribbons, is the "pencil and pearl": three beads followed by a single long one that is about the length of three beads. The long bead is simply the half-round shape with rounded ends. all 0 Miles Karpilow makes furniture in Emeryville, Calif right,